Heart Of Darkness Natives Quotes

That's how I do this life sometimes by making the ordinary just like magic and just like a card trick and just like a mirror and just like the disappearing. Every Indian learns how to be a magician and learns how to misdirect attention and the dark hand is always quicker than the white eye and no matter how close you get to my heart you will never find out my secrets and I'll never tell you and I'll never show you the same trick twice. I'm traveling heavy with illusions.

Slowly he lifted his hands in the darkness and held them in mid-air, the fingers spread weakly open. If he reached out with his hands, and if his hands were electric wires, and if his heart were a battery giving life and fire to those hands, and if he reached out with his hands and touched other people, reached out through these stone walls and felt other hands connected with other hearts -- if he did that, would there be a reply, a shock?

Don't believe the dark whisperings that invite you to walk backward. At any time in your life, you have the power to turn forward.

A Rock, A River, A Tree Hosts to species long since departed, Mark the mastodon. The dinosaur, who left dry tokens Of their sojourn here On our planet floor, Any broad alarm of their of their hastening doom Is lost in the gloom of dust and ages. But today, the Rock cries out to us, clearly, forcefully, Come, you may stand upon my Back and face your distant destiny, But seek no haven in my shadow. I will give you no hiding place down here. You, created only a little lower than The angels, have crouched too long in The bruising darkness, Have lain too long Face down in ignorance. Your mouths spelling words Armed for slaughter. The rock cries out today, you may stand on me, But do not hide your face. Across the wall of the world, A river sings a beautiful song, Come rest here by my side. Each of you a bordered country, Delicate and strangely made proud, Yet thrusting perpetually under siege. Your armed struggles for profit Have left collars of waste upon My shore, currents of debris upon my breast. Yet, today I call you to my riverside, If you will study war no more. Come, clad in peace and I will sing the songs The Creator gave to me when I And the tree and stone were one. Before cynicism was a bloody sear across your brow And when you yet knew you still knew nothing. The river sings and sings on. There is a true yearning to respond to The singing river and the wise rock. So say the Asian, the Hispanic, the Jew, The African and Native American, the Sioux, The Catholic, the Muslim, the French, the Greek, The Irish, the Rabbi, the Priest, the Sheikh, The Gay, the Straight, the Preacher, The privileged, the homeless, the teacher. They hear. They all hear The speaking of the tree. Today, the first and last of every tree Speaks to humankind. Come to me, here beside the river. Plant yourself beside me, here beside the river. Each of you, descendant of some passed on Traveller, has been paid for. You, who gave me my first name, You Pawnee, Apache and Seneca, You Cherokee Nation, who rested with me, Then forced on bloody feet, Left me to the employment of other seekers-- Desperate for gain, starving for gold. You, the Turk, the Swede, the German, the Scot... You the Ashanti, the Yoruba, the Kru, Bought, sold, stolen, arriving on a nightmare Praying for a dream. Here, root yourselves beside me. I am the tree planted by the river, Which will not be moved. I, the rock, I the river, I the tree I am yours--your passages have been paid. Lift up your faces, you have a piercing need For this bright morning dawning for you. History, despite its wrenching pain, Cannot be unlived, and if faced with courage, Need not be lived again. Lift up your eyes upon The day breaking for you. Give birth again To the dream. Women, children, men, Take it into the palms of your hands. Mold it into the shape of your most Private need. Sculpt it into The image of your most public self. Lift up your hearts. Each new hour holds new chances For new beginnings. Do not be wedded forever To fear, yoked eternally To brutishness. The horizon leans forward, Offering you space to place new steps of change. Here, on the pulse of this fine day You may have the courage To look up and out upon me, The rock, the river, the tree, your country. No less to Midas than the mendicant. No less to you now than the mastodon then. Here on the pulse of this new day You may have the grace to look up and out And into your sister's eyes, Into your brother's face, your country And say simply Very simply With hope Good morning.

Pop, would go one of the six-inch guns; a small flame would dart and vanish, a little white smoke would disappear, a tiny projectile would give a feeble screech - and nothing happend. Nothing could happen. There was a touch of insanity in the proceeding, a sense of lugubrious drollery in the sight; and it was not dissipated by somebody on board assuring me earnestly there was a camp of natives - he called them enemies! hidden out of sight somewhere.

one moment and bright the next. "When the manager, escorted by the pilgrims, all of them armed to the teeth, had gone to the house, this chap came on board. 'I say, I don't like this. These natives are in the bush,' I said. He assured me earnestly it was all right. 'They are simple

These struggles with the natural character, the strong native bent of the heart, may seem futile and fruitless, but in the end they do good. They tend, however slightly, to give the actions, the conduct, that turn which Reason approves, and which Feeling, perhaps too often opposes: they certainly make a difference in the general tenor of a life, and enable it to be better regulated, more equable, quieter on the surface; and it is on the surface only the common gaze will fall. As to what lies below, leave that with God. Man, your equal, weak as you, and not fit to be your judge, may be shut out thence: take it to your Maker--show Him the secrets of the spirit He gave--ask Him how you are to bear the pains He has appointed--kneel in His presence, and pray with faith for light in darkness, for strength in piteous weakness, for patience in extreme need. Certainly, at some hour, though perhaps not at your hour, the waiting hours will stir; in some shape, though perhaps not the shape you dreamed, which your heart loved, and for which it bled, the healing herald will descend.

Once, I remember, we came upon a man-of-war anchored off the coast. There wasn't even a shed there, and she was shelling the bush. It appears the French had one of their wars going on thereabouts. Her ensign dropped limp like a rag; the muzzles of the long six-inch guns stuck out all over the low hull; the greasy, slimy swell swung her up lazily and let her down, swaying her thin masts. In the empty immensity of earth, sky, and water, there she was, incomprehensible, firing into a continent. Pop, would go one of the six-inch guns; a small flame would dart and vanish, a little white smoke would disappear, a tiny projectile would give a feeble screech—and nothing happened. Nothing could happen. There was a touch of insanity in the proceeding, a sense of lugubrious drollery in the sight; and it was not dissipated by somebody on board assuring me earnestly there was a camp of natives—he called them enemies!—hidden out of sight somewhere.

Lift every voice and sing, Till earth and heaven ring, Ring with the harmonies of Liberty; Let our rejoicing rise High as the list’ning skies, Let it resound loud as the rolling sea. Sing a song full of the faith that the dark past has taught us, Sing a song full of the hope that the present has brought us; Facing the rising sun of our new day begun, Let us march on till victory is won. Stony the road we trod, Bitter the chast’ning rod, Felt in the days when hope unborn had died; Yet with a steady beat, Have not our weary feet Come to the place for which our fathers sighed? We have come over a way that with tears has been watered. We have come, treading our path through the blood of the slaughtered, Out from the gloomy past, Till now we stand at last Where the white gleam of our bright star is cast. God of our weary years, God of our silent tears, Thou who hast brought us thus far on the way; Thou who hast by Thy might, Led us into the light, Keep us forever in the path, we pray. Lest our feet stray from the places, our God, where we met Thee, Lest our hearts, drunk with the wine of the world, we forget Thee; Shadowed beneath Thy hand, May we forever stand, True to our God, True to our native land.

Rousseau's tormented and tortured nature made him look with eyes of hatred upon people like Diderot, d'Alembert, Helvétius in Paris, who seemed to him fastidious, sophisticated and artificial, incapable of understanding all those dark emotions, all those deep and torturing feelings which ravaged the heart of a true natural man torn from his native soil.

[“... ] Once, I remember, we came upon a man-of-war anchored off the coast. There wasn't even a shed there, and she was shelling the bush. It appears the French had one of their wars going on thereabouts. Her ensign dropped limp like a rag; the muzzles of the long six-inch guns stuck out all over the low hull; the greasy, slimy swell swung her up lazily and let her down, swaying her thin masts. In the empty immensity of earth, sky, and water, there she was, incomprehensible, firing into a continent. Pop, would go one of the six-inch guns; a small flame would dart and vanish, a little white smoke would disappear, a tiny projectile would give a feeble screech—and nothing happened. Nothing could happen. There was a touch of insanity in the proceeding, a sense of lugubrious drollery in the sight; and it was not dissipated by somebody on board assuring me earnestly there was a camp of natives—he called them enemies!—hidden out of sight somewhere. "We gave her her letters (I heard the men in that lonely ship were dying of fever at the rate of three a day) and went on. We called at some more places with farcical names, where the merry dance of death and trade goes on in a still and earthy atmosphere as of an overheated catacomb; all along the formless coast bordered by dangerous surf, as if Nature herself had tried to ward off intruders; in and out of rivers, streams of death in life, whose banks were rotting into mud, whose waters, thickened into slime, invaded the contorted mangroves, that seemed to writhe at us in the extremity of an impotent despair. Nowhere did we stop long enough to get a particularized impression, but the general sense of vague and oppressive wonder grew upon me. It was like a weary pilgrimage amongst hints for nightmares. [..."]

Darkness my beloved home, I return! I return, not whole, but damaged. Fatigued by quixotic tendencies, The prodigal has come back famished. An outer world, so hostile and strange Filled immensely with ignorant natives The land where all good is forgotten Where hatred itself is life’s matrix. Though I’ve brought an odd mystery, An enigma that requires my genius A phenomenon, in foreign land; A veiled embodiment of Venus. Since, I’ve craved for my sanctuary, I have returned to you, oh darkness! Now I will restore my lost vigor to Unravel demeanors of this goddess. But..... Why am I estranged to this darkness? Maybe I’ve been away for too long, But shouldn’t home always feel home? Why am I in dire need to belong? As if this soul is deprived of life As if this body is in swift decay As if this mind screams for peace As if this heart calls to be lured ‘way Unwise, to have brought the goddess, When she is of a different realm Unfortunate, to have fallen in love, As she leaves to retain her helm Perhaps, this home lies deep within For everything is, but mere illusion Hence, I’ll reside her in my heart; To feel her, even in seclusion.

And as he lay there a far crack of lightning went bluely down the sky and bequeathed him in an embryonic bird's first fissured version of the world and transpiring instant and outrageous from dark to dark a final view of the grotto and the shapeless white plasm struggling upon the rich and incunabular moss like a lank swamp hare. He would have taken it for some boneless cognate of his heart's dread had the child not cried. It howled execration upon the dim camarine world of its nativity wail on wail while he lay there gibbering with palsied jawhasps, his hands putting back the night like some witless paraclete beleaguered with all limbo's clamor.

Globalization has shipped products at a faster rate than anything else; it’s moved English into schools all over the world so that now there is Dutch English and Filipino English and Japanese English. But the ideologies stay in their places. They do not spread like the swine flu, or through sexual contact. They spread through books and films and things of that nature. The dictatorships of Latin America used to ban books, they used to burn them, just like Franco did, like Pope Gregory IX and Emperor Qin Shi Huang. Now they don’t have to because the best place to hide ideologies is in books. The dictatorships are mostly gone—Brazil, Argentina, Uruguay. The military juntas. Our ideologies are not secrets. Even the Ku Klux Klan holds open meetings in Alabama like a church. None of the Communists are still in jail. You can buy Mao’s red book at the gift shop at the Museum of Communism. I will die soon, in the next five to ten years. I have not seen progress during my lifetime. Our lives are too short and disposable. If we had longer life expectancies, if we lived to 200, would we work harder to preserve life or, do you think that when Borges said, ‘Jews, Christians, and Muslims all profess belief in immortality, but the veneration paid to the first century of life is proof that they truly believe in only those hundred years, for they destine all the rest, throughout eternity, to rewarding or punishing what one did when alive,’ we would simply alter it to say ‘first two centuries’? I have heard people say we are living in a golden age, but the golden age has passed—I’ve seen it in the churches all over Latin America where the gold is like glue. The Middle Ages are called the Dark Ages but only because they are forgotten, because the past is shrouded in darkness, because as we lay one century of life on top of the next, everything that has come before seems old and dark—technological advances provide the illusion of progress. The most horrendous tortures carried out in the past are still carried out today, only today the soldiers don’t meet face to face, no one is drawn and quartered, they take a pill and silently hope a heart attack doesn’t strike them first. We are living in the age of dissociation, speaking a government-patented language of innocence—technology is neither good nor evil, neither progress nor regress, but the more advanced it becomes, the more we will define this era as the one of transparent secrets, of people living in a world of open, agile knowledge, oceans unpoliced—all blank faces, blank minds, blank computers, filled with our native programming, using electronic appliances with enough memory to store everything ever written invented at precisely the same moment we no longer have the desire to read a word of it.

intellectual imperialism. It has been, and still is, used to denigrate the orientation that many people still experience, that the world, and the other organisms with which we share this Earth, are alive, intelligent, and aware. It has been used to stifle the response of the heart to what has been presented to the senses. This has resulted in the creation of a conceptual monoculture that can’t see outside its limitations. Such imperialists have set out to conquer the superstitious natives inhabiting the dark continent, the place where the general populace lives. Midgley makes the point that arguments such as Day’s rest in a belief in human beings as “an isolated will, guided by an intelligence, arbitrarily connected to a rather unsatisfactory array of feelings, and lodged, by chance, in an equally unsatisfactory human body.”18 Or as Susan Sontag once described it: “consciousness harnessed to flesh,”19 as if there could be consciousness without the emergence of the self-organized system we call the body. This type of dissociation is a common side effect of the materialist and very reductionist view of the world most of us are trained in. But as Midgely notes, this system of thought is not reason, not science, but behavioral examples of, as she puts it, an unexamined, “exuberant power fantasy.” It is bad software, generated out of unexamined psychological frameworks. The evolutionary escalator metaphor and the assumptions of what constitutes intelligence (and value) that are embedded within it create, automatically, behavior that is very dangerous to every other life-form on this planet—in fact to the health of every ecosystem this planet possesses.

Globalization has shipped products at a faster rate than anything else; it’s moved English into schools all over the world so that now there is Dutch English and Filipino English and Japanese English. But the ideologies stay in their places. They do not spread like the swine flu, or through sexual contact. They spread through books and films and things of that nature. The dictatorships of Latin America used to ban books, they used to burn them, just like Franco did, like Pope Gregory IX and Emperor Qin Shi Huang. Now they don’t have to because the best place to hide ideologies is in books. The dictatorships are mostly gone—Brazil, Argentina, Uruguay. The military juntas. Our ideologies are not secrets. Even the Ku Klux Klan holds open meetings in Alabama like a church. None of the Communists are still in jail. You can buy Mao’s red book at the gift shop at the Museum of Communism. I will die soon, in the next five to ten years. I have not seen progress during my lifetime. Our lives are too short and disposable. If we had longer life expectancies, if we lived to 200, would we work harder to preserve life or, do you think that when Borges said, ‘Jews, Christians, and Muslims all profess belief in immortality, but the veneration paid to the first century of life is proof that they truly believe in only those hundred years, for they destine all the rest, throughout eternity, to rewarding or punishing what one did when alive,’ we would simply alter it to say ‘first two centuries’? I have heard people say we are living in a golden age, but the golden age has passed—I’ve seen it in the churches all over Latin America where the gold is like glue. The Middle Ages are called the Dark Ages but only because they are forgotten, because the past is shrouded in darkness, because as we lay one century of life on top of the next, everything that has come before seems old and dark—technological advances provide the illusion of progress. The most horrendous tortures carried out in the past are still carried out today, only today the soldiers don’t meet face to face, no one is drawn and quartered, they take a pill and silently hope a heart attack doesn’t strike them first. We are living in the age of dissociation, speaking a government-patented language of innocence—technology is neither good nor evil, neither progress nor regress, but the more advanced it becomes, the more we will define this era as the one of transparent secrets, of people living in a world of open, agile knowledge, oceans unpoliced—all blank faces, blank minds, blank computers, filled with our native programming, using electronic appliances with enough memory to store everything ever written invented at precisely the same moment we no longer have the desire to read a word of it.” ― John M. Keller, Abracadabrantesque

hand on the heavy brass handle to the classroom. Etched with a Greek key design worn down from the grip of generations of students, the knob dwarfed my small, almost childlike hand. I paused. Turn the knob and push the door open, I told myself. You can do this. Crossing this threshold is nothing new. You have passed over the supposedly insurmountable divide between male and female in countless classrooms before. And always succeeded. Still, I hesitated. I knew all too well that, while the first step is the hardest, the second isn’t much easier. In that moment, little more than a breath, I could almost hear Papa urging me on. “Be bold,” Papa would whisper in our native, little-used Serbian tongue. “You are a mudra glava. A wise one. In your heart beats the blood of bandits, our brigand Slavic ancestors who used any means to get their due. Go get your due, Mitza. Go get your due.” I could never disappoint him. I twisted the knob and swung the door wide open. Six faces stared back at me: five dark-suited students and one black-robed professor. Shock and some disdain registered on their pale faces. Nothing—not even

Bertie is the soul of the desert. Her body’s Navajo brown inside the dawn of civilization. Her heart, the rumble of wind across dark boulders, across the ocean of dry soil. He holds her now inside his small, growing frame.

This egregious example of “Belgians bad, natives good” is the conceptual foundation of King Hochschild’s Hoax. And it bleeds into what is, for most readers, the enduring imaginative impact of the book, to have put a nasty Belgian face onto Mistah Kurtz, the phantom who draws Marlow’s steamboat up the Congo river in Joseph Conrad’s 1902 novella Heart of Darkness. Like generations of English professors, Hochschild has misread the book as an indictment of colonialism, which is difficult to square with its openly pro-colonial declarations and the fact of the “adoring” natives surrounding the deceased Kurtz.

he main point is that Conrad realistically described the terrible things done by Belgians in the Congo. Hochschild certainly wishes this was Conrad’s purpose. He repeats an old theory that Kurtz was based on the EIC officer Léon Rom whom Conrad “may have met” in 1890 and “almost certainly” read about in 1898. Visitors noted that Rom’s garden was decorated with polished skulls buried in the ground, the garden gnomes of the Congo then. But Kurtz’s compound has no skulls buried in the ground but rather freshly severed “heads on the stakes” that “seemed to sleep at the top of that pole.” As the British scholar Johan Adam Warodell notes, none of the “exclusively European prototypes” for Kurtz advanced by woke professors and historians followed this native mode of landscape gardening. By contrast, dozens of accounts of African warlords and slavers in the Congo published before 1898 described rotting heads on poles (“a wide-reaching area marked by a grass fence, tied to high poles, which at the very top were decorated with grinning, decomposing skulls,” as one 1888 account had it). Far from being “one of the most scathing indictments of [European] imperialism in all literature,” as Hochschild declares it, Heart of Darkness is one of the most scathing indictments of the absence of European imperialism in all literature. Kurtz is a symbol of the pre-colonial horrors of the Congo, horrors that the EIC, however fitfully, was bringing to an end.

As it turned out, the wilderness that Western man had failed to explore was the dark continent of his own soul, that very 'Heart of Darkness' which Joseph Conrad depicted, released by its distance from Old World sanctions, throwing off archaic taboos, conventional wisdom, and religious inhibitions, and obliterating every trace of neighborly love and humility. Wherever Western man went, slavery, land robbery, lawlessness, culture wrecking,a nd the outright extermination of both wild beasts and tame men went with him: for the only force that he now respected-an enemy with equal power to inflict damage on him-was lacking, once his feet were firmly established on the new soil. Within half a dozen years after Columbus' landing the Spaniards, a contemporary observer estimated, had killed off one and a half million natives.

More ominously, Native American tribal areas were not included on early European maps of the Americas, giving readers of those maps the impression no one lived there—at least, no one of consequence. No landowners. These are the kinds of blanks that fire Marlow’s imagination in Conrad’s Heart of Darkness—the blanks that certain minds found to be a call for colonialism and conquest.

Heart’s deviation Let us travel from now to then, from today to tomorrow, Let us fulfill our desires and wishes in a row, Because they lie sequenced in the order only you and I know, And you can see them all over my face while I see them appearing on your beautiful brow, Let me take you into the clouds and get wet, Let me take you there where I first saw you and then our hearts met, Because in that place everything is still wet, Although there are no clouds and the sky is clear, I wonder from where it could such a cover of wetness get, Let me take you there and together discover its secret, Let us know what no one else knows about it, Because the place is mysteriously always wet and it is beyond my wit, Or it could be it is just my false impression of it, Let me then make a confession, that since you left nothing has returned, Let me reveal to you the world that appears deceptively wet as it is actually the world that has endless burned, Because when from distance you see fields of burned desires and wishes turned to ash, they look like wet surfaces where everything is frozen in stillness and unturned, And it is from ash covered places like these life has all its ploys learned, Let me take you away from here too, somewhere far, very far, where burning is not required, Let us travel there where heart’s find whatever they have wished for and desired, Because they say utopia is somewhere where human feelings are never by desperate moments mired, And in this outlandish possibility let us seek each other and never feel tired, Let me love you behind the clouds and beyond the blue sky, Let us go there where everything burns: the sun, the stars, the universe, and everything that flies by, Because there, maybe when you see them burning in the fire of eternity and cry, You might realise why few places appear to be always wet long after their fires die, Let me look at your face, your eyes; and understand you a bit more, Let me see you in reality’s dress and then let me your every sentiment explore, Because when we realise what burning feels like it is then your true soul peeps from your skin’s every pore, Then let me kiss you and see if you too ever felt wet, and feel the corner of your heart where all your feelings you store, Let me let you explore me in the same ways, Let me let you experience the wetness of my soul, that has burned endlessly for nights and days, Because only then you might be able to see what you could never feel because you knew not how to deal with heart’s ways, As it is with all of us, in the beginning we let our minds dictate the darkness of our nights and the brightness of our days, Let me cover you with my desires and their fires and everything that you wish to feel, Let me show you how human lives turn and spin on the fate’s wheel, Because sometimes what appears to be a reality is actually not real, Maybe it will be the misadventure of our hearts but then if you look at the world and the universe even real sometimes seems unreal, Let me introduce you to the world where everything is real because there is no fake dimension, Let us then live in this romantic moment this romantic sensation, Because in the miscellany of my feelings, desires, and endless wishes, your feelings appear to be my heart’s only native creation, So let me, my love Irma, make you feel what true impenitence feels like when you do not obey your mind but you follow your heart’s every selfless deviation!

Heart’s deviation Let us travel from now to then, from today to tomorrow, Let us fulfill our desires and wishes in a row, Because they lie sequenced in the order only you and I know, And you can see them all over my face while I see them appearing on your beautiful brow, Let me take you into the clouds and get wet, Let me take you there where I first saw you and then our hearts met, Because in that place everything is still wet, Although there are no clouds and the sky is clear, I wonder from where it could such a cover of wetness get, Let me take you there and together discover its secret, Let us know what no one else knows about it, Because the place is mysteriously always wet and it is beyond my wit, Or it could be it is just my false impression of it, Let me then make a confession, that since you left nothing has returned, Let me reveal to you the world that appears deceptively wet as it is actually the world that has endlessly burned, Because when from the distance you see fields of burned desires and wishes turned to ash, they look like wet surfaces where everything is frozen in stillness and unturned, And it is from ash covered places like these life has all its ploys learned, Let me take you away from here too, somewhere far, very far, where burning is not required, Let us travel there where heart’s find whatever they have wished for and desired, Because they say utopia is somewhere where human feelings are never by desperate moments mired, And in this outlandish possibility let us seek each other and never feel tired, Let me love you behind the clouds and beyond the blue sky, Let us go there where everything burns: the sun, the stars, the universe, and everything that flies by, Because there, maybe when you see them burning in the fire of eternity and cry, You might realise why few places appear to be always wet long after their fires die, Let me look at your face, your eyes; and understand you a bit more, Let me see you in reality’s dress and then let me your every sentiment explore, Because when we realise what burning feels like it is then your true soul peeps from your skin’s every pore, Then let me kiss you and see if you too ever felt wet, and feel the corner of your heart where all your feelings you store, Let me let you explore me in the same ways, Let me let you experience the wetness of my soul, that has burned endlessly for nights and days, Because only then you might be able to see what you could never feel because you knew not how to deal with heart’s ways, As it is with all of us, in the beginning we let our minds dictate the darkness of our nights and the brightness of our days, Let me cover you with my desires and their fires and everything that you wish to feel, Let me show you how human lives turn and spin on the fate’s wheel, Because sometimes what appears to be the reality is actually not real, Maybe it will be the misadventure of our hearts but then if you look at the world and the universe even real sometimes seems unreal, Let me introduce you to the world where everything is real because there is no fake dimension, Let us then live in this romantic moment this romantic sensation, Because in the miscellany of my feelings, desires, and endless wishes, your feelings appear to be my heart’s only native creation, So let me, my love Irma, make you feel what true impenitence feels like when you do not obey your mind but you follow your heart’s every selfless deviation!